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Monday, April 12, 2010

Tatiana Rene
-camera phone app "Vertical Mirror"
effect - "Sepia"
Tatiana Rene
"Bathroom Wall"
-camera phone app "Horizontal Mirror"
Tatiana Rene
-camera phone app "Toy Camera"
Battle Cry, 2008
Digital print, 24 × 16 in. (61 × 40.6 cm)
Collection of the artist
Study in Orange & White #4, 2009
Colored pencil on paper; 14 × 11 in. (35.6 × 27.9 cm)
Collection of the artist; courtesy Galerie Georges-Philippe & Nathalie Vallois, Paris, and Mitchell-Innes & Nash, New York
rendering for Soft Opening, 2010
Mixed media installation at the Whitney Museum of American Art

Untitled, 2008-09
Sumi ink on paper, 5 1/2 × 7 in. (14 × 17.8 cm)
Collection of the artist; courtesy D’Amelio Terras Gallery, New York

Thursday, April 8, 2010

Tatiana Rene
"Photo Project"
-Toy Camera app

I like the multitude of lines and endless subject matter.  This is how I feel after trimming the edges off of 107 photographs.  Scattered.
Tatiana Rene
"Do You Dare?"
-Toy Camera app

This photograph reminds me of Duchamp's (R. Mutt) "The Fountain".  It's Dadaist in spirit, but I would not categorize myself as a Dadaist.  In that sense, does that make me a Dadaist?
Tatiana Rene
"Purple Rays"
-taken with the toy camera feature on my smart phone

I feel that I will be in this experimental stage until I get bored with it.  So far, that has not happened.  I keep finding different filters in my camera apps on my phone that are really intriguing to me.  This is a photograph of a wall of an industrial building, but the way that it is composed reminds me of the sun's rays beaming down.  The fact that the rays are purple instead of orange or yellow is also discerning.
Chapter 5: Spectacles and Illusions

Photo by: GL Factory

(I was researching images by Guy Bourdin and came across this image.  First off, I'd like to state that I have absolutely fallen in love with Guy Bourdin's images, however, I could not pull any from his website to post on my blog.  Click here to look at Bourdin's amazing portfolio).

This image represents fashion photography.  The model's hair and makeup portray fashion as does the overall essence of the photograph.  This image reminds me of a page in a fashion magazine, such as Vogue.  I am absolutely in love with this style of photography.

Chapter 5: Spectacles and Illusions

"Dunlopillo, it's hard to make love anywhere else
Dunlopillo. Sleep like you love."
Advertising agency: H, Paris, France
Creative Director: Gilbert Scher
Art Director: Pietro Sotgia
Copywriter: Arnaud Le Bacquer
Photographer: Geoffroy de Boismenu
Published: January 2010
(This image is interesting to me because it reminds me of an experience I once had back in college in Hawaii.  I had eaten some mushrooms and came home to find my entire house rearranged.  The bed was in the kitchen, the sofa was in the bathroom, nothing was in it's correct place.  You can imagine the horror on my face when I walked in the door at 5am).
This photograph relates to chapter 5 and the use of photography in commodity culture.  We relate this object with comfort, but the place in which this object is placed, is not comfortable at all.  So, with buying this comfortable mattress, we can be comfortable anywhere.

Wednesday, April 7, 2010

Chapter 4:  Photography and the Human Body


JULY 23, 2006

This image relates to the human body and utilizing the subject as the object.  The subject of this photograph is a little girl, but she is objectified as a child.  Children tend to bore easily, especially when they are being photographed, so this is a perfect example of a child that is not interested in what is going on whatsoever.  It looks like she was stopped in the midst of her fantasy playtime to take a random photograph in which she cares little about, which is the exact nature of how children, in general, are.

Chapter 4:  Photography and the Human Body

Double Je

Pierre et Gilles is utilizing the bodies as objects by creating fantasy worlds of and around them.  The subjects are classified as objects within a scene, and in this case, a fantastical scene.  We are drawn into the photographs because of the saturated colors and the way that the bodies are placed directly in the middle of the photograph.  Their intent gaze at the viewer is not welcoming or joyful.  There is also a sense of fetishism in the way they are dressed.